Tragic ReliefOxford University Press, 1932 - 233 páginas |
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Página 147
... scene . Now the point to be noticed about the Porter scene is that it is dramatically relevant , and is admirably incor- porated into the texture of the tragedy . It is not an incongruity , and the admission of it into the tragedy is ...
... scene . Now the point to be noticed about the Porter scene is that it is dramatically relevant , and is admirably incor- porated into the texture of the tragedy . It is not an incongruity , and the admission of it into the tragedy is ...
Página 148
... scene : ... ' All action in any direction is best expounded , measur- ed , and made apprehensible , by reaction . . . . The retir- ing of the human heart and the entrance of the fiendish heart was to be expressed and made sensible ...
... scene : ... ' All action in any direction is best expounded , measur- ed , and made apprehensible , by reaction . . . . The retir- ing of the human heart and the entrance of the fiendish heart was to be expressed and made sensible ...
Página 151
... scene of great passion and concernment , as to pass to another of mirth and humour , and to enjoy it with any relish : but why should he imagine the soul of man more heavy than his senses ? Does not the eye pass from an unpleasant ...
... scene of great passion and concernment , as to pass to another of mirth and humour , and to enjoy it with any relish : but why should he imagine the soul of man more heavy than his senses ? Does not the eye pass from an unpleasant ...
Índice
PLEA | 1 |
PHILOSOPHICAL EXPOSITIONS OF TRAGIC PLEASURE | 12 |
THE SECRET OF TRAGIC PLEASURE | 34 |
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action appear Aristotle attempt audience avenger brings called cause chapter character circumstance comedy comic common course crime death deed device Dick distinctive double impression effect element Elizabethan entire essential exceptional expression external fact fate father fear feel forces ghost give Hamlet hand hesitancy horror human husband impression incident indicate inner internal conflict introduction killed kind King Lear live look lyrical Macbeth manner meet merely mind murder namely nature Nora Othello outer pain passion picture pity play pleasure plot poetic poetry presented principle produce Professor regard represented revenge says scene seems seen sense serves Shakespeare shock situation soliloquies sorrow spirit stage struggle suffering suggest supernatural sway theme theory things thought thrown tion tragedy tragic drama tragic dramatist tragic hero tragic relief turn ultimate wife